
Book«jJ_s£> 

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COPYRIGHT DEPOSIT. 




LIEUTENANT ARTHUR B. JENSEN 

Infaiitnj, U. S. R. 



JENSEN SYSTEM 



OF 



MODELING 



EMPLOYING THE 




Published by 

The Jensen Modeling Device Company 

2520 Milwaukee Avenue 
Chicago 



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Copyright, 1919 

by 

ARTHUR B. JENSEN 



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FOREWORD. 

The greatest joys in life are found in the power 
of expression — in the ability to create something. 
For there is an infinite pleasure in seeing ones 
thoughts and tastes take visible form. That is why 
plaste papier modeling is so fascinating — but I wish 
to urge upon the student that the deeper he goes into 
this subject, the more absorbingly interesting will 
the study become. 

So resolve to get all there is out of this course. 
There will be many, I realize, who will model wit hout 
studying very seriously the lessons herein and still 
produce fairly good heads and derive much fun 
therefrom. But those who will apply themselves and 
study faithfully will find far greater interest in their 
work, and they will get expression and character in 
their modeled heads of which they may well be 
proud. 

The study of the human form is limit-less. 
Even our foremost sculptors are ever studying to 
improve their knowledge and their work. The hu- 
man head is the most beautiful object in the world. 
Irt is the subject of more paintings and sculpture 
than all other subjects and scenes combined. Hence 
the study of the face, and in fact the entire bust, by 
means of this System will rapidly develop in the 
student a sense of the artistic and the beautiful. 

Plaste papier modeling has a glorious past. The 
U. S. Army used this method in the World War for 
making dummies to attract enemy fire and so learn 
their location, and in many other ways. In several 



4 JENSEN SYSTEM OF MODELING 

instances, a dead horse lying on No-Man's Land 
near the enemy trench, was replaced by a good 
duplicate made in plaste papier, and the observer 
would crawl into the paper horse before dawn each 
day and observe the enemies action all day at close 
range. 

Great guns were imitated in this material and 
placed in the vicinity of real guns that were carefully 
concealed through camouflage. The Boche observers 
sent out to discover the location of the real batteries 
that were doing the havoc to the enemy would dis- 
cover the paper guns only, and so the enemy artillery 
would train their fire on the dummy batteries and 
allow the real guns to continue their fire without 
being molested. The real guns were concealed by 
having their outlines painted out by means of broken 
forms of various colors painted all over the guns, 
and also covering the guns with foliage. 

A great statue of Blackhawk, 25 feet high, was 
modeled in this material and waterproofed, just be- 
fore the Blackhawk Division left Camp Grant, 111., 
for France in July 1918. This work was done by the 
Blackhawk Division's Camouflage Dept., of which 
the writer was a member. It still stands, after these 
many months, defying the elements ; the winds and 
rains and snows could not destroy it; and it still 
looks as permanent as though carved out of solid 
rock. It stands as a monument to those brave Black- 
hawks who gave up their lives overseas; to their 
memory this book is solemnly dedicated. 

Arthur B. Jensen, 
Senior Instructor. 





<£**>• 





Lieutenant Jensen Before Blackkawk Statue modeled in plaste papier 



PART 1— PLaSTE PAPIER MODELING. 



6 JENSEN SYSTEM OF MODELING 

LESSON 1— GENERAL INSTRUCTIONS 

There are those whose taste far excells the aver- 
age artist, and yet who cannot even draw a line, far 
less model a figure, simply because they lack the 
mechanical skill to reproduce what they see and feel. 
The Superskill Modeling Device supplies this defi- 
ciency and enables a discerning brain to express it- 
self with untrained and unskilled hands. 

The Superskill makes of the beginner an expert 
draughtman at once, by supplying the correct pro- 
portions and true lines of the head, neck and shoul- 
ders. On the other hand, it leaves entirely to the 
modeler the creative, artistic part — the forming of 
the features and the expression of the face. 

No expense has been spared in making the 
Superskill anatomically correct. In collaboration 
with eniment sculptors, an ideal head, medium be- 
tween male and female, having lines that conform 
most closely to the average normal person, was 
modeled. From this, strips were made by the most 
expensive, and most accurate, process ; being molded 
in genuine aluminum which reproduces precisely the 
most minute curves and formations of the original 
bust . These aluminum strips are light, durable, 
rust-proof and rigid; they will always retain their 
correct shape. 

As to size, the Superskill conforms a little more 
to the male head and is a trifle larger than the 
average female head, which however is most desir- 
able as heroic proportions add strength and charm 
to one's work, whereas if it were smaller than 
normal, the work appears weak and shriveled. All 
figures of old master sculptors stand seven feet or 
more. 



PART ONE—PLASTE PAPIER MODELING 



n§ io a 




8 JENSEN SYSTEM OF MODELING 

With the Superskill, an extensive knowledge of 
anatomy is unnecessary; so this difficult and less 
interesting branch of art study can be practically 
eliminated from this course. Our study of the hu- 
man form will deal chiefly with the surface forma- 
tions and features. Those who have in the past 
modeled without the Superskill, will especially ap- 
preciate the fact that the very tedious work of taking 
measurements is also eliminated by this method. 

A stick with one end on the floor and the other 
end 20 inches above the table or chair it is attached 
to, is used to support the Superskill modeling device. 
The stick is held loosely in place by means of a staple 
driven into the side of the table or a heavy piece of 
wood lying on the table. (See Figure 4). This per- 
mits the modeler to turn the Superskill around on 
the stick so that all sides of the head can be modeled 
without getting out of one's chair. Due to its 
patented notches, a child can put the Superskill to- 
gether in a minutes time, and remove it from the 
shell just as quickly. One screw, with the aid of the 
notches, holds the entire device together. 

Note figures 10a and 11a, and observe just what 
lines of the head the strips describe. A is the pit of 
the neck; B is where the jaw piece fits into the brow 
piece ; C is base of the nose ; D lies % inch in front of 
the highest part of the shoulder line; V is broadest 
point of the head ; W marks the dividing line between 
the neck and the shoulders ; X this part of the front 
vertical strip, between the upper teeth and the top 
of the neck, is simply to connect the vertical neck 
portion with the face portion, and does not describe 



PART ONE—PLASTE PAPIER MODELING 



Closed -Jaw 





i£ 11 A. 



10 JENSEN SYSTEM OF MODELING 

any part of the anatomy nor any of the lines of the 
face. The formation and location of the chin is to 
be secured from the jaw piece. Y This projection 
marks the point where the upper rear part of the 
ear is attached to the head. Z marks the seventh 
cervical vertebra, the highest vertebra that can be 
felt with the fingers easily. 

Removing from the Shell. After the head has 
been modeled and the plaste-papier sufficiently hard- 
ened, the strips are removed thru the neck as fol- 
lows: — 

First; unscrew the thumb screw at the top of 
the head, taking the bust off of the stick. Then reach 
up into the hollow head and remove each piece from 
the head, first the right and left strips, then the rear 
and front strips, next the neck band, then the brow 
pieces and finally the jaw pieces. These two strips 
are made in two pieces because otherwise they would 
be too wide to remove through the neck, and so they 
should be taken out one piece at a time. 

First Stage. Before attempting to model, study 
the features and the lines of the head of the folks of 
your household. Be analytical, notice the details 
you formerly overlooked. Be observing, let what 
your eyes see register in your brain. Sit before the 
mirror and study your features; mentally divide 
your face into planes; study the direction of 
every line ; become acquainted with the formation of 
every feature. 

Second Stage. Then, and not until then, pick 
up your lessons, 1 to 14 only at first, and study them 
thoughtfully, visualizing everything you read or see 
illustrated; scrutinize your own features and form 



PART ONE—PLASTE PAPIER MODELING 



11 



Fif 1. 




12 JENSEN SYSTEM OF MODELING 

as you read ; remember that you are carrying a model 
on your shoulders that can be referred to at any 
time. If any words are unfamiliar, refer to the 
dictionary always, or you may lose important mean- 
ings. Strive to master the subject; to become expert 
in modeling. 

Third Stage. Model slowly at first, having a 
reason for placing as you do each piece of plaste- 
papier ; do not go at it haphazardly and trust to luck. 
Errors can be corrected easy enough; (cutting away 
with the shears if necessary) but it is poor training. 

Do not depend on memory or the illustrations 
entirely to secure the proper lines and features. If 
you cannot have a model who will sit for you for 
short periods, at least go over and study on some 
face the feature you are about to make. The most 
satisfactory method for the beginner is to secure a 
good plaster cast of some work of recognized merit 
to use as a model, or work before a mirror. 

As you become proficient, likenesses can be made 
of your friends, but this should not be attempted at 
first. In making a portrait, produce his most char- 
acteristic expression ; it may be a broad smile, show- 
ing the teeth; or with knitted eye brows and fur- 
rowed forehead in deep thought, or the like. 

Change the view of the sitter frequently as well 
as the light that is placed on him. When comparing 
your work with your model, take care that you see 
them both from the same point of view. Study your 
work from every angle as you progress, from below, 
above and three-quarter view, as well as the front 
and profile views. 

To Caricature means to exaggerate some 



PART ONE—PLASTE PAPIER MODELING 



13 




rig 8. 



n§9. 



14 JENSEN SYSTEM OF MODELING 

peculiar and unusual feature of the face, as for in- 
stance, the big teeth of our late "Teddy" were made 
ever bigger by our cartoonists. (See Figures 6 and 7). 

To strike a semblance in someone who is sitting 
for you, it will make it easier if these marks of dis- 
tinction are exaggerated slightly, but not so much 
that it caricatures them. On the other hand, as a 
source of fun, if no real portrait of the sitter is being 
attempted, a caricature can be made, in fact much 
easier in modeling than in drawing. If the pecu- 
liarity is not a mark of ugliness or weakness, there 
will be no offence taken but will be a source of great 
amusement. 

Children, in modeling, should be encouraged to 
conform to the natural lines, but they may be allowed 
to occasionally go on an art spree and produce 
witches and the like, with long pointed red noses and 
chins, and etc. (See Figures 8 and 9) . 

Grotesque and ridiculous faces can be made for 
masque balls and the entire shell can be worn over 
the real head and made to look most natural. The 
head would have to be cut in half and then secured 
with cloth hinges. These false faces will delight the 
children too, all of whom play so well the game of 
make believe. 

There are four methods of finishing up the 
heads: (1) They can be modeled entirely in plaste 
papier, and unpainted, the color values being ob- 
tained in the high lights and shadows. (2) They can 
be modeled entirely in plaste papier and then painted 
in the natural colors with water colors. This is the 
most pleasant way and secured the most interesting 
results. (3) The big planes can be modeled in the 




THE SUPERSKILL MODELING DEVICE 

— tlie Great Art Educator 



PART ONE— PLASTE PAPIER MODELING 15 

plaste papier and the Oasis Clay used to secure the 
finished lines, although this treatment will not allow 
the heads to be much handled, as the clay will always 
be soft and pliable, nor will it allow the use of paints 
on this oily surface. However, it is most excellent 
for use in studying expressions, as one expression 
can be modeled in the Oasis Clay over the plaste 
papier and then this same clay can be pushed around 
into other expressions. The ordinary modeling clay 
cannot be used at all as it dries, cracks and falls off. 
(4) The plaste papier surface can be covered with 
Bronzola to produce most beautiful bronze statues, 
which is the best treatment if the bust is to be placed 
in the home for decorative purposes. Merely apply 
with the brush that is sent with the outfit. 



16 JENSEN SYSTEM OF MODELING 

LESSON 2— PLaSTE PAPIER 

Plaste-Papier is, in English, wrapping or build- 
ing paper dipped in plaste, a substance which makes 
it plastic and pliable while modeling and lends 
strength and rigidity to it upon hardening. The 
common brown wrapping paper is the most satis- 
factory to use. The wrapping paper should be torn 
in pieces, which gives it a thin feather edge that is 
lost when modeled over other pieces, whereas a sharp 
cut edge would stand out sharply. 

Use small pieces of paper, about 1x2 inches, un- 
til you learn to handle it better. The paper needs 
simply to be dipped for a moment into the plaste 
which should be of a heavy consistency that will drop 
freely from a spoon, but will not pour in an unbroken 
stream. Place the dry plaste in a small bowl and add 
cold or hot water gradually, stirring it, until the 
proper consistency is obtained. Being so easily pre- 
pared, it is desirable to make up only one day's sup- 
ply at a time. 

After the strips of the device have been attached 
securely to each other, model with short pieces of 
the plaste papier along the frame work, allowing it 
to stiffen somewhat before attempting to bridge the 
gaps between the aluminum strips, working in the 
meanwhile on another region of the bust. See Figure 
12A. The first few pieces of plaste papier put on are 
the most important; therefore study Figure 12B 
carefully and see how each feature is started. 

The first piece is laid over the bridge of the nose, 
the ends going straight back to a point inside the 
inner corners of the eyes. Other pieces are then laid 
over the nose strip, each overlapping the other, the 



PART 0NE—PLA8TE PAPIER MODELING 



17 




Fig 12 B 



18 JENSEN SYSTEM OF MODELING 

ends suspended in the air. A piece is then placed on 
the bottom of the nose strip and the ends are curved 
up around the paper just above it to form the wings 
of the nostrils. The skin-covered upper lip is formed 
with a rather stiff piece of plaste papier, about 2y 2 
inches long, which runs backward on each side as it 
leaves the aluminum strip. Note that the aluminum 
strip at this point outlines the upper lip, as in 
laughter, being compressed against the gum and 
raised up, exposing the teeth. So if the mouth is to 
be closed in your subject, it should be built out and 
also brought down to cover the teeth. 

In covering the aluminum strips as shown in 
figure 12A, note carefully the direction of the lines 
of these strips across their narrow dimension, as this 
will indicate the lines to follow between the strips. 
See that the paper is a continuation of these curves. 
There should be an unbroken flow of lines through- 
out your entire work. 

In bridging all gaps, use triangular shaped 
pieces of paper, so that there will be no corner 
suspended in the air that is not taut and secured, as 
in figure 12D. It will be seen that in figure 12E, the 
three corners of the triangular piece are all secured 
over the metal strips, and there is no corner that 
can sag down. Build the neck up from the neck 
band, and not down from the jaw pieces, as the 
horizontal planes under the jaw should be formed 
last. 

Cover the frame completely with one layer of 
plaste- papier before laying on more to form the 
features. Do not attempt to secure any finished lines 
in the first layer, but let every plane be lower than 



PART ONE—PLASTE PAPIER MODELING 



19 



Fig 12 C. 




Tig 13 



20 JENSEN SYSTEM OF MODELING 

normal and then build it up gradually. Get the big 
planes right first, before producing the delicate 
curves. But do not have sharp angles and corners 
between the planes. Study carefully figures 12C and 
16, and see that each piece you apply runs in the 
correct directions, in conformance with planes shown 
in these figures. Do not finish up one part before 
touching another ; work a bit on the face, then let it 
stiffen while you are working on the head, then go 
to the neck, then back to the face, and so on. Par- 
ticularly, do not finish up one side of the face before 
touching the other ; let them grow apace or you will 
lose unity. 

The ears are formed separately and then at- 
tached to the head. Take a piece of cardboard folded 
in half, one of the halves being of the same size and 
shape as the ear, and the other half for the purpose 
of lying flat against the side of the head to hold the 
ear when affixed. Put a wad of dry paper be- 
tween the two halves of cardboard near the crease, 
the size of the wad determining how far the ear 
will stick out. See figure 12F. Then keeping the 
cardboard at the desired angle, place plaste papier 
over the wad and the cardboard to hold it in proper 
position. Then attach to the side of the head in the 
proper place as explained in lesson on construction 
of the ear. The little projecting lug on the side 
vertical strip marks the point where the upper rear 
part of ear is attached to the head. Then model the 
round rim around the ear and form all the outer 
curves and planes. Allow to dry and harden, and 
then cut out with a knife the orifice of the ear, cover- 
ing over with plaste papier to form the correct lines. 



PART ONE—PLASTE PAPIER MODELING 




22 JENSEN SYSTEM OF MODELING 

As one learns to handle it, plaste papier will 
prove very plastic and amenable to the touch. But 
one must learn from experiments of his own rather 
than any written description. After being laid over 
the Superskill the plaste papier can be pressed in and 
out like clay, to change its formation, if done be- 
fore it hardens and sets. So if a certain place on the 
bust were too high, instead of taking off any layers 
of the plaste papier, it may be pressed gently in, and 
each litle piece of paper will slide over into its new 
position, without causing a bulge elsewhere. 

If a surface is to be built out considerably, in- 
stead of laying layer after layer of plaste papier over 
this spot, simply place a dry wad of paper of the 
desired form and thickness over the place to be built 
out, and then cover that with one piece of the plaste 
papier. 

As it is easy enough to build out with plaste 
papier, the Superskill strips describe features as low 
and narrow as is consistent with correct lines. For 
instance the jaw strips outline a very narrow, but 
normal, feminine jaw, and if a heavy wide masculine 
jaw is required, it can be built out. However, if 
there is an abnormal feature, such as, for instance, a 
receding chin, the modeled chin can be easily cut 
down with a knife after the plaste papier has hard- 
ened and the Superskill strips have been removed 
from the shell, and then covered with fresh plaste 
papier to form the desired receding lines of the chin. 
Plaste papier heads can be patched up at any time 
without showing patches and scars, being entirely 
made up of patches of paper anyhow. 

If due to unusual atmospheric conditions, any 



PART ONE— PLASTE PAPIER MODELING 23 

part should sag down, just build it up to normal 
again by adding layers of plaste papier; if it bulges 
out above normal, merely trim down with a knife 
and cover over again with plaste papier. 

A quick method of modeling, after one learns to 
handle the plaste papier skillfully, is to cover an 
entire space between strips with small pieces of 
plaste papier loosely without any thought of form 
or planes. Then press the plaste papier in and out, 
like clay, to secure the proper formation. 

This should be done by putting one of your 
hands inside the frame and pressing out with the 
fingers, resisting on the outside with the fingers of 
the other hand. See that there are no loose edges, by 
pressing together firmly each piece of plaste papier. 
Of course, all this must be done before it hardens. 
Work only on one section at a time, and start on the 
face first, so that it will be easy to put the hand inside 
the framework, before it is entirely covered over. 

This lesson on handling plaste papier is of great- 
est importance to the beginner as It will add skill to 
untrained hands ; and so every statement made here- 
in should be carefully studied, and remembered while 
modeling. 



24 JENSEN SYSTEM OF MODELING 

LESSON 3— PROPORTION 

"I cannot imagine beauty without proportion," 
says Winkelmann, "Which is always its foundation." 
The Superskill ably secures the proper proportions 
for even the unskilled modeler ; nevertheless it is well 
to become familiar with the following measure- 
ments. The human body is designed with geome- 
trical accuracy; each part is related to the other; 
nearly all units are of the same size or can be evenly 
divided into each other. 

The head can be divided into four equal parts: 
1. From the top of the head to the beginning of the 
hair. 2. From the edge of the hair to the root of 
the nose. 3. From the root of the nose to its base. 
4. From the base of the nose to the chin. No. 4 is 
divided again as follows :— 1/3 from nose to mouth ; 
2/3's from mouth to bottom of chin. These measure- 
ments refer to the straight up and down distance 
between the horizontal lines running thru these 4 
points, and does not include the distances forward. 
(See Figure 14). 

A horizontal line drawn through the outer 
corner of the eye will divide the head, from crown 
to chin, exactly in half. The height of the head 
(distance from the horizontal line even with the top 
of the crown to that even with the bottom of the 
chin), is a unit of measurement commonly used by 
sculptors. It measures from 8V2 to 9 inches. A six 
foot man is eight heads tall. The space from the chin 
to the nipples of the breast measures a head exactly. 

The breadth of the head across the eyes 
measures 5 eyes' length. The space between the eyes 
is exactly one eye's length. The distance from the 



PART OXE—PLASTE PAPIER MODELING 



25 



Fi£ 14. 




26 JENSEN SYSTEM OF MODELING 

outer corner of the eye to a line even with the 
farther-most side of the head also equals the lengtha 
of an eye. This measurement does not include 
distance backward to the side of the head but refers 
only to the distance to the left and the right, as seen 
in perspective. (See Figure 14). 

These distances are equal .1. From the eyebrow 
to the bottom of the chin ; 2. from ear to ear (meas- 
uring through the head) ; 3. from the hollow of the 
ear to the point of the nose. 

Measurements vary in the human body but the 
proportions never do. For example, from ear to ear 
the distance may be 5% inches in one head and six 
inches in another, but so also will the distance from 
eyebrow to chin, be &h inches in one head and 6 
inches in the latter. Hence, using parts of body as 
measurements are more accurate than the use of the 
rule. That is why the Superskill can be used for 
modeling any head ; the proportions it outlines is the 
same in everyone. 

The head has somewhat the form of an egg; 
when viewed from the side, the small end being at 
the point of the chin. The face also from the front 
view has the same oval shape. The widest part of 
the head is just above and behind the ears and is out- 
lined by the side vertical strip of the Superskill. The 
longest part of the head is on the level with the eye- 
brows. 

Internally, the left side of the body is the exact 
counterpart of the right side. Therefore when the 
action or position of a certain muscle or feature is 
explained it refers to both sides. Externally, the 
face can vary very slightly as one side might be 



PART ONE—PLASTE PAPIER MODELING 27 

more relaxed at that particular moment. However, 
the head must be symmetrical and balanced, as a 
slight deviation will produce a deformity. The left 
side must, therefore, be a close duplicate of the right, 
differing only in that the lines run in just the op- 
posite directions. It is this difference that makes it 
difficult for the novice to compare the two accurately. 
This can be overcome, however, by placing a mirror 
on one side of the work, and a reflection therein will 
reverse the lines. It is then very easy to compare 
the two sides and to make the necessary corrections. 



28 JENSEN SYSTEM OF MODELING 

LESSON 4— CONSTRUCTION AND PLANES 

A plane is a flat surface in which a straight line 
connecting any two points in it would lie entirely on 
that surface. A cube for instance has 6 equal planes. 
In like manner the face has a great number of 
planes, but they are hard to distinguish for instead 
of being at sharp right angles to each other like the 
cube, they are connected by delicate curves. They 
exist nevertheless and must be taken into considera- 
tion, or character and expression and construction 
would be lacking in your work. 

First study the diagram (Figure 16) closely and 
then carefully compare with a face to discover the 
planes marked out therein. Each plane must be 
there and yet care must be taken that in going from 
one plane to another there are no sharp angles. Give 
greatest thought to these planes when putting on 
first layer of the Plaste-Papier. As you put on each 
piece, consider whether it is forming the right plane 
in that region ; whether its lines are running in the 
correct general direction. 

These planes are more pronounced in a man 
than in the rounded face of a woman or child. The 
average woman's face has softer lines and smaller 
features, lower forehead, more ovoid and less square 
brow and jaw, more pointed and more receding chin, 
fuller lips, more prominent and rounded cheekbones. 
She also has a smaller head than a man, particularly 
in the back upper region. The foreheads vary ac- 
cording to the development of the brain underneath. 

Bear these characteristics of a women's face 
ever in mind when modeling a female bust, as the 



PART ONE—PLASTE PAPIER MODELING 



29 




Fig 16. 



30 JENSEN SYSTEM OF MODELING 

tendency in modeling is always to form the more 
rugged angular masculine face. 

Construction. There are two methods of repro- 
ducing the features and the planes of the head in 
your work ; — the wrong way and the correct way. 

The incorrect and inaccurate method appears 
to be easiest, but really is the most difficult way to 
get correct results. It is the tendency to produce 
everything line for line as you go along, without 
studying the construction. For instance, you are 
modeling the face ; you look at the left corner of the 
mouth of your model or bust, observe the line it fol- 
lows and then try to copy it with the plaste papier. 
As you model you keep your eye one moment on the 
model and the next on the head you are modeling, 
to see that your lines are going in the correct direc- 
tion. You are merely working with surface lines — 
and trust to your eyes to make a close copy. You fail 
to consider that there are three dimensions. This is 
fundamentally and radically wrong. 

The correct, interesting way is to study the un- 
derlying construction. If you were to model a per- 
fectly round ball, you would not have to study and 
copy the curves of a ball as you model, because you 
know its construction and shape. It would be easy 
enough to produce a sphere out of your fund of 
knowledge. Just so should you be familiar with the 
construction of the human head. In studying the 
construction of anything, you must divide it into the 
smallest units. You would not study the head in its 
entirety, nor the face, nor even the entire mouth. 
You would mentally divide the mouth into four parts, 
the upper skin-covered part, the upper red lip, the 



PART ONE—PLASTE PAPIER MODELING 31 

lower red lip and the lower skin-covered portion, and 
study the construction of each part separately. 

In studying the construction of the lower red lip, 
for example, you would study it as a mass, not as two 
lines. You would further divide this lower lip into 
three parts; the center, a rectangle, would run al- 
most straight to the left and the right; and the two 
sides, triangular in shape, which run backward, re- 
ducing in width, to the corners of the mouth. With 
this knowledge, you will build up your lower lip as 
a whole, and not line by line. 



82 JENSEN SYSTEM OF MODELING 

LESSON 5— COLOR 

In modeling or sculpture, expression is obtained 
by form, usually without the aid of color. In such 
cases the color values are obtained not by paint, but 
by high lights and shadows and half shades secured 
by hollows, depressions and high spots in the form. 
This, of course, is most difficult to obtain and should 
not be attempted by the student in his earlier 
work. In modeling, your work should be placed in 
the same light as the model and the strongest light 
should come from the side. 

It is very fascinating and interesting work, 
however to paint these heads in the natural colors. 
The plaste papier offers an ideal surface that will 
take water colors very nicely. 

All colors can be secured by various mixtures of 
the three primary colors: — Red, Blue and Yellow. 
When only two of these primaries are mixed to 
obtain a certain color, the other primary that is not 
used is called the complement of that mixture. Thus 
yellow would be a complement of purple which is 
a mixture of the other two primaries, blue and red. 
If this purple were too strong and intense for the 
purpose desired, it can be grayed, or reduced, by 
adding a little of the complement, yellow. 

An equal mixture of all 3 primaries will produce 
brown ; a mixture of all three, with more of the blue 
and less of the yellow, produces black. To secure 
paler hues of any color, white is added. The follow- 
ing table shows how to obtain the various shades, 
and what the complement to that shade is: 



PART ONE—PLASTE PAPIER MODELING 



33 



Colors Mixed. 


Color Obtained. 


Complementary 


Red-Yellow 


Orange 


Blue 


Red-Blue 


Purple 


Yellow 


Yellow-Blue 


Green 


Red 


Yellow only- 


Yellow 


Purple 


Red only- 


Red 


Green 


Blue only 


Blue 


Orange 


Orange-Blue 


Brown 


None 


Purple- Yellow 


Brown 


None 


Green-Red 


Brown 


None 



Endless variations can be secured by varying 
the proportions of the above colors. If for instance 
a reddish orange is desired, more of the red is used 
than the yellow. Because of the difficulty amateurs 
experience in securing a good natural flesh color by 
mixing the primaries, a flesh tint has been prepared 
and has been included in the Superskill Paint Box. 
The entire shell should be covered with this flesh tint, 
after it has been greatly weakened and reduced by 
the addition of white first, and then the pink cheeks, 
the ear tips and the nose tip should be touched up 
with a red, which has first been greatly weakened by 
the addition of white. The colors should be mixed 
on a palette, a board or a cardboard before being 
applied. 



34 JENSEN SYSTEM OF MODELING 

LESSON 6— CONSTRUCTION OF THE EYES 

Eyes. The eye sockets should be sunk deep 
under the brows with the protruding cheek bones 
standing out below the outer edge of the eye. The 
beginner seldom makes these sockets deep enough, 
with the result that the face appears flat. While the 
visible part is oval like an almond, the eyeball really 
is round like a ball, and is 1 inch in diameter. 

The eyes should be an eyes length apart; that is, 
the distance between the inner corners of the eyes is 
equal to the distance from the inner to the outer 
corners of each eye. It is particularly important 
that the corners of the eyes be in a correct position. 
If too deep, the nose stands out too much. If too low 
on the face, the nose will appear too short. If eyes 
are placed too far apart, they will make nose appear 
too wide at the root and make the face too wide. 
(See Figure 32). 

The inner corners are slightly lower than the 
outer, in practically all eyes. (See Figure 32). In 
Orientals, the inner corners are much lower, which 
is further accentuated by a fold of skin hanging 
from the upper eyelid over the inner corner of the 
eye. It is these oblique eyes, more than anything 
else that give the Chinese and the Japs their char- 
acteristic appearance. 

The eyeball is fixed; and though it rolls in all 
directions it cannot move out of its sockets. So 
when in certain expressions the inner or outer 
corners appear raised more than normally it is due 
to the changed formation of the skin in that region, 
and also to the position of the eyebrows, which are 
very mobile. 



PART ONE—PLASTE PAPIER MODELING 



35 



Fig 28. 



Ti$ 27. 





• Ti i 29 




36 JENSEN SYSTEM OF MODELING 

The top and bottom part of the colored iris, 
when eye is looking straight ahead, is covered by 
the lids. When down-cast the eyeball rolls down- 
ward and exposes white between the iris and the 
upper lid. In upturned eyes, the white shows be- 
neath the iris. 

In modeling without the aid of color, the black 
spot of the iris, called the pupil, is produced by in- 
denting a hole at this point, to create a dark shadow. 
Take care that it is in the same position on both eyes, 
so that both eyes are looking in the same direction. 

The pupil is the most projecting part of the eye 
ball; hence directly above it, the lid is raised the 
highest and most forward. As this black spot moves 
from side to side, depending upon the direction of 
the gaze, the upper lid will change its curve to con- 
form. In looking to the left, the black spot will be 
near the left corner of the eyes, and so the edge of 
the lid will be sharply curved above this point and 
the remainder of the edge will have almost one 
straight sweep. 

The outer corners are sharp and angular, and 
are formed by the upper lid lapping over the lower. 
The inner corners are more rounded, with the ap- 
pearance of being punched out. 

The upper lid is more prominent, movable and 
longer than the lower, and is used to shut the eye 
without the aid of the lower lid. The upper lid is 
also much more curved than the lower. The more 
widely open the eyes, the greater the curve of the 
edges of the lids. 

"The eyebrows," says Shakespeare, "Is the rain- 
bow of peace or the bended bow of discord." It is full 



PART ONE—PLASTE PAPIER MODELING 



Fi$30 




38 JEN8EN SYSTEM OF MODELING 

of expression and can indicate almost any emotion of 
the human mind. Eyebrows vary in size and shape 
greatly, some are flat, some project far over the 
eyes, some are long and some narrow. But always 
the eyebrow is larger at the outer end than near the 
nose. The hairs of the eyebrows run upward and 
outward. Over-hanging eyebrows make the eyes 
appear very deep set, when they may not really be so. 
Large eyes and a small mouth are the attributes of 
beauty. 

The eyes have voluntary muscles that close and 
open them when awake, and involuntary muscles that 
close and open when asleep or unconscious. It is 
this condition that produces the peculiar heavy, 
squinting eyes of a drunken man. In his stupor, 
the involuntary muscles are closing his eyes, while 
in his semi-consciousness his voluntary muscles are 
trying to raise them up, which arches the eyebrows 
and half opens the eyes. It is this squinting, half- 
open gaze that makes him see double. The lower 
part of his face hangs loose and limp, while the 
corners of his mouth droops down. The skin under 
the eyes is loose and puffy, and the lower eyelid is 
drawn down away from the eyeball, exposing the 
inner red membrane of the lid. 



PART ONE—PLASTE PAPIER MODELING 



39 




Fig 38. 




Fig 39. 



Figure 38 shows eyes as viewed from below 
Figure 39 shows eyes as viewed from above 



40 JENSEN SYSTEM OF MODELING 

LESSON 7— CONSTRUCTION OF THE MOUTH 

Mouth. Normally the lips are full and rounded, 
the upper projecting out beyond the lower. (See 
Figures 40 and 41). However, a deep hollow just 
above the chin adds fullness to the lower lip. There 
is a great difference between the formation of the 
upper and lower lip. Lips vary in length ; the small 
lips being the most beautiful; 50% longer than the 
eye is a good proportion to follow. 

The lips extend from the nose to the chin. In 
modeling, the red membrane part should be clearly 
defined from those parts of the lips covered by the 
regular skin. 

Upper Red Lip. At the corners of the mouth, a 
narrow horizontal line of red follows a short straight 
line forward, than widens and twists upwards into 
a rounded vertical plane, which continues upward 
in a straight sweep toward the center of the mouth, 
where it curves forward and downward to become 
the most projecting part of the lips. The upper line 
of this red mass takes the following course: from 
the corners, it runs forward ; then curves upwards ; 
then a long sweep upward and forward nearly to 
the center, where it curves sharply downward. The 
line between the two lips when closed has very slight 
and gentle curves, and runs almost in a straight line 
forward from the corners to the center. (See Fig- 
ures 42 and 43). 

Lower Red Lip. The lower red lip can be divided 
into three planes of almost equal length. The center 
is a flat rectangular form, curving backward from 
its center very slightly; and the right and the left 
triangular forms, which curve back as they 



PART ONE—PLASTE PAPIER MODELING 



Fig 41. 



41 




42 JENSEN SYSTEM OF MODELING 

run to the corners of the mouth. The lower lip 
gradually narrows as it goes to the corners. The 
entire lower lip is nearly all in the same horizontal 
plane; that is, it curves neither up or down. The 
lower edge of the lower lip follows an almost uni- 
form curve forward from corner to center, and is 
almost entirely on the same horizontal line. (See 
Figures 42 and 43). 

Upper Skin-Covered Portion. A groove runs 
down the center of this portion from the septum be- 
tween the nostrils to the red upper lip. 

On each side of this indention are columnar 
forms, which are the most projecting parts of this 

portion. From this point, the lip slopes backwards 

on a straight line to the cheeks on each side. (See 

Figure 45). 

Lower Skin-Covered Portion. Like the red lower 

lip, this portion too can be divided into three planes; 

the central which slopes forward, from the hollow 

above the chin to the red lip ; and the two sides which 

curve backward towards the corners of the mouth. 

Great beauty can be added to a face with well 
formed lips. Said Lavater, an early physiognomist 
in speaking of the mouth, "I conjure our sculptors, 
and every artist whose mission it is to represent 
man. I conjure them with all my might to study the 
most precious of our organs, in all its varieties, in 
all its proportions and in all its harmonies." 



PART ONE—PLASTE PAPIER MODELING 



43 




I **$ 42. 




Ti§ 43 



44 



JENSEN SYSTEM OF MODELING 



Fi£ 45. 




Fig 46. 




PART ONE—PLASTE PAPIER MODELING 45 



n$ 47. 




Fig 48. 



46 JENSEN SYSTEM OF MODELING 

LESSON 8— CONSTRUCTION OF THE NOSE 

Nose, The nose is most narrow and deepest at 
its root, between the eyes; this depression, while al- 
ways present, varies greatly in each individual. The 
Greek Nose, which is a continuation of the forehead, 
without any depression (Figure 51), is never seen 
except in Classical Greek statuary. However that 
nose is most beautiful that conforms most nearly to 
the Greek — one straight line downward from the 
forehead, sloping outward in almost the same direc- 
tion as the brow. The length of the nose is equal to 
the height of the forehead. The depth of the lower 
end (from tip to lip) is about 1/3 of the length of 
the nose. 

The nose (excepting the bottom section) has 
three large planes, the two sides, which slope in 
ward and downward and forward, and the flat ridge 
that lies between them. The dividing lines between 
this ridge and the two sides run as follows: — It 
starts with a line from each eyebrow which curves 
inward and then outward over the boney bridge, 
then inward again, and then outward, forming at 
last an oval at the tip of the nose. (See Figure 48). 
The tip of the nose is always rounded, even in those 
having sharp noses. There are no sharp corners in 
the face — only curves. 

The nose bulges out on the lower end of each 
side and it is important to produce these curved alae 
surrounding the nostrils accurately. (See Figures 
48, 50 and 52). Under strong emotions, which causes 
deeper and quicker breathing, the nostrils dilate, 
which widens and raises their wings. 



PART ONE—PLASTE PAPIER MODELING 47 



Fig 49. 




Fig 50. 



Fig 52. 



48 JENSEN SYSTEM OF MODELING 

LESSON 9— CONSTRUCTION OF THE EARS 

Ears. The external visible part of the ear is a 
transmitter for picking up waves of vibration, which 
carried to the inner ear, produces audible sound. 

Of greatest importance is placing the ear in the 
proper place on the head. The projection on the side 
vertical strip of the Superskill marks the point where 
the upper ear is attached to the head. Bear in mind 
that the very top of the ear, which is not attached 
to the side of the head, is higher than this projec- 
tion. 

If care is not taken in this matter the head will 
appear out of proportion. If placed too low, the 
upper part of the face and head will appear too long; 
if placed too far back, the head will appear too thin 
from a front view; and so on. For the ear is the 
landmark on the head. The distance from the hollow 
of the ear to the point of the nose is equal to that 
from the chin to the eyebrows. 

Ears vary in length ; however, the bottom bound- 
ary never varies ; it is always even with the bottom 
of the nose. The top boundary varies however ; but 
usually is about even with the eyebrows. In most 
cases the ears slope back in the same direction as 
the nose, when viewed from the side. (See Figure 
53). 

Many gentle curves and folds make up the ear, 
which vary in each individual. They can be more 
easily studied from life or from the drawings given 
herein than from any written description. Take care 
that the hollows are not too deep, as this produces 
dark shadows. Take care that the ear extends at 
the proper angle from the head; not too much, nor 



PART ONE-PLASTE PAPIER MODELING 




49 



n§ 54. 



50 JENSEN SYSTEM OF MODELING 

on the other hand, not flat against the head. (See 
Figure 56). Except in rare instances, the soft 
rounded lobe, from which earrings are hung, is not 
attached to the side of the neck. 

There will be a tendency to make the ears too 
thick, which detracts greatly from their beauty. 
They should be delicate, thin and shallow. When 
modeling from a model or cast, study the ears from 
the rear view and a % view from the back. 



PART ONE—PLASTE PAPIER MODELING 51 




Fig 55. 



Tig 50. 



52 JENSEN SYSTEM OF MODELING 

LESSON 10— CONSTRUCTION OF THE CHEEK 

Cheekbone. The form of the face depends in 
a measure upon the cheek bones which protrude un- 
der the outer corner of the eyes. The flat face of 
the Mongol is due to his deep sunk cheek bones ; the 
wide features of the Australian, (aboriginies) are 
due to their cheek bones extending so far to each 
side. The high cheek bones of the Indian is a well 
known characteristic. When this effect is seen in 
white people it usually is due to sunken cheeks caused 
by loss of tissue. The form of the cheek bone should 
be formed in the plaste papier before the attempt is 
made to produce the final contours of the face. 

Jaw. The angle of the jaw (near the lobe of the 
ear) is a trifle over a right angle (90 degrees) in a 
normal adult, while in an infant or aged person it is 
a much greater angle, about 130 degrees. The 
absence of teeth in infants and old folks also alter 
the lines of the jaw, by raising the chin on a higher 
plane. (See Figure 57). 

A well developed jaw gives strength and force- 
fulness to a face. However, if it is just 90 degrees 
and is wide at the angles, it suggests a coarse brute 
strength. This angle is covered so well with muscles 
in most people, that there is no marked sharp corner 
at this point. 

The jaw is dropped in laughter, horror, disgust, 
surprise, awe and other emotions. It is the only 
large bone in the head that is not rigidly attached 
to the skull. In the Superskill Device, the upper end 
of the jaw is attached by means of a pin, which 
allows it to swing down in varying degrees. 

The chin may be square, rounded or pointed; 



PART ONE— PLASTE PAPIER MODELING 



53 



Fig. 57. 




54 JENSEN SYSTEM OF MODELING 

prominent, normal, retreating or double, varying 
greatly in each individual. 

Naso-Labial Fold. This rise in the cheek ex- 
tends from each side of the nose (just above the 
wings of the nose) obliquely downward and out- 
ward. (See Figure 58). It is more pronounced in 
some than others and is especially noticable in old 
people. In smiling or laughing, the crease directly 
beneath this fold becomes very marked, and extends 
in a semi-circle around the corners of the mouth. 
When the corners of the mouth droop in certain sad 
expressions this curved line under the Naso-labial 
fold is straightened out. In most cases there is also 
a furrow marking the top of this fold, starting just 
below the inner corner of the eye and running down- 
ward and outward on the cheek. 



PART ONE—PLASTE PAPIER MODELING 



65 



% 









It? UlifeMV 




Fig. 58. 



56 JENSEN SYSTEM OF MODELING 

LESSON 11— CONSTRUCTION OF THE FORE- 
HEAD AND THE HAIR 

Forehead. The most projecting parts of the 
normal forehead is about 2 inches above each eye, 
with a slight depression between these two emi- 
nences. The greater these two eminences the greater 
is the intellect beneath them. They must not be con- 
fused however with the "bumps" just above the root 
of the nose, which are air spaces that increase the 
resonance of the voice. 

The low rounded forehead is an element of 
beauty in the female, while a high forehead denotes 
intellect. Women of the school marm type improve 
their attractiveness by allowing their hair to cover 
part of their high brows. Usually a woman's fore- 
head is lower and more rounded than a man's. 

Hair. The Superskill Modeling Device outlines 
the shape of the skull, and so the hair should be? 
placed above these lines. Lay on the hair with re- 
gard to its principle masses rather than attempting 
minute detail, producing natural waves and curls. 

The hair in front should be put on in three masses, 
one on top around the entire frontal bone, one just 
back of the temples, and one in front of, and slightly 
above, the ears. From the crown of the head the 
waves will radiate in all directions. (See Figures 
18, 19, 20 and 21). 

Dark hair is produced by deep undercuts, which 
produce dark shadows. That is, masses project over 
hollow spaces to produce shadows. In light hair, 
these undercuts should be shallow and few in 
number. 



PART ONE—PLASTE PAPIER MODELING 



57 



Fi$18 





Fig 19. 




Fig 21 



58 JENSEN SYSTEM OF MODELING 

Hair is paler near the roots, and the masses ap- 
pear pinker near the face and neck, so if color is em- 
ployed, in painting these regions, mix a little flesh 
color with the hair color. 



PART ONE—PLASTE PAPIER MODELING 59 




60 JENSEN SYSTEM OF MODELING 

LESSON 12— CONSTRUCTION OF THE NECK 

The male neck is short, thick and firm, about 5 
inches in diameter, rising almost vertically from the 
the body, whereas the female neck is slender and 
graceful, and longer and of softer lines than the 
male, and leaves the trunk in a forward direction. 
The neck tapers gradually to a smaller circumfer- 
ence as it rises upwards, but has a local swelling in 
front in the region of the Adams Apple. This swell 
is more pronounced in man than woman, except in 
many young woman, in whom this region is so full 
that it almost suggests a goiter. The back of the 
neck is flat, with a slight depression in the center, 
and just below this depression protrudes the seventh 
vertebrae bone. 

The juncture of the neck with the head is higher 
in back at the skull than in front under the chin. 
The lower juncture of the neck with the trunk is 
also proportionately higher in back than in front. 
Hence the lower and upper boundary lines of the 
neck run parallel, and as the neck slopes more or 
less forward, these lines are almost at right angles 
to the vertical lines of the neck. (See Figure 63). 

The two important muscles of the neck, Sterno- 
cleido-mastoid, extend one on each side from the 
breast bone in the center of the body, obliquely up- 
ward and backward to the skull just back of the 
ears. (See Figures 64 and 65). They stand out 
prominently in man, but are seen in most women 
only when a turning of the head in one direction 
causes the muscles on the opposite side to stand out 
prominently. When both of these sterno-mastoid 



PART 0NE—PLA8TE PAPIER MODELING 



61 




Fi£ 63 




62 JENSEN SYSTEM OF MODELING 

muscles act, the head is bent forward by it: when 
but one is contracted, the head is turned to the op- 
posite side. 

These two muscles form a V-shape, with its 
base on the breast bone. Just above the point where 
these muscles are inserted into the breast bone, 
there is a deep gulley, called the pit oif the neck; 
above that projects the Adams Apple; above this 
swelling, the line of the neck curves in gently, until it 
reaches the large horizontal plane under the jaw- 
bone. (See Figure 66). This plane (which is not 
outlined in the Superskill, because of the movable 
jaw) is almost at right angles to the front of the 
neck when in normal position. When the head is 
bent back, in looking up, the angle is greater; when 
the head is bowed down, the angle is smaller. Of 
course if a double chin develops, the angle disap- 
pears. 

There is no sharp angle at the joining of the 
neck to the shoulders. The great trapezius muscle 
which is attached to the base of the skull slopes out 
gradually from the neck across the top of the 
shoulder to be inserted into the shoulder blade. (See 
Figure 67). In woman, this line is almost straight, 
until it reaches the outer edge of the soft rounded 
shoulder, but in the more muscular male, there are 
a number of curves, swells and hollows that must not 
be overlooked. There is a depression in the other- 
wise full formation of the side of the neck, forming 
a triangle with its apex upwards, bounded in front 
by the sterno-mastoid and behind by the great 
trapezius muscle. 



PART 0NE—PLA8TE PAPIER MODELING 



63 




R$65. 



Fi£ 64. 




R$67. 



64 JENSEN SYSTEM OF MODELING 

LESSON 13— THE UPPER TORSO 

Shoulder. These are the big important lines of 

the shoulder. Above the shoulder joint, a rounded, 

almost ball-like formation, of which the deltoid is 

the important muscle; the sloping top of the tra- 
pezius muscle (disappearing behind the neck, when 

viewed from the front) ; the protruding collar bone 

(clavicle) which runs upward and outward toward 

the shoulder; and a deep gulley, triangular in shape, 

surrounded by the collar bone, the trapezius and the 

base of the neck. See Figure 66). The formation 

of the shoulders change with each movement of the 

arms, so the above description applies only when the 

arms are hanging normally. In men shoulders are 

square and angular, while in women they are 

rounded and sloping. 

The front of the Clavicle (shoulder bone) is a 
narrow protruding bone which runs from the breast 
bone toward the shoulder joint. Note that in leaving 
the center of the body, it follows a straight line, then 
curves backward and lastly a trifle forward again, 
till it reaches the depression just inside the top of the 
rounded shoulder. (See Figure 68 and 69.) Note 
also that this bone rises slightly as it goes toward the 
shoulder. There is a deep depression between the 
inner ends of the right and the left clavicles, and 
directly below this pit of the neck is the flat breast 
bone, about 2 inches wide. This bone slopes down 
and outward for 2 inches ; then there is a sharp angle 
and it bends inwardly. The entire chest slopes for- 
ward as it goes down, upon leaving the clavicles. 

Chest. The chest is divided in half by this 
breast-bone depression. The pectoral muscles form- 



PART TWO— FACIAL EXPRESSION 



©5 




Fig 69 




Tij 71. 



36 JENSEN SYSTEM OF MODELING 

ing the chest, starting at the breast bone, slopes 
gradually forward and outward to the nipple and 
then curves gently inward toward the bottom of the 
shoulder joint; as it nears the arm pit it curves out 
again, more pronounced and beautiful in the female 
than the male. 

Breasts. The nipples are about four inches 
from the center of the body and about nine inches 
from the chin, on the most raised surface. In the 
female the nipple is larger and is surmounted on 
a rounded prominence, called the breast, which 
varies in size. (See Figure 72). The lower half of 
the breast has a greater curve than the upper, when 
in an upright positon. The nipples point outward ; 
that is, away from each other. 

Back. The back of the neck and the central 
portion of the upper back is a flat surface running 
straight up and down. The shoulder blades -in the 
back, covered by the wide trapezius muscles are also 
almost vertical, projecting out on each side of the 
gulley in the center of the back produced by the 
spinal column. (See Figure 67). 

The width of the shoulders is equal to a trifle 
more than twice the vertical distance from crown to 
chin in the man, averaging 18 inches; while in a 
woman it is a trifle less than twice, averaging 17 
inches. 



PART ONE—PLASTE PAPIER MODELING 



67 




Ti< § 72 - 



63 



JENSEN SYSTEM OF MODELING 

SHOULDER BLADE: 



NECK BASE. 
NECK. 



Ti§73. 




SHOULDERS. 



BREAST: 



CHEST. 



NECK BASE. 



SHOULDERS. 



rig 74. 




Pig 75. 



PART TWO— FACIAL EXPRESSIONS 
Portrayal of the Human Emotions 



70 JENSEN SYSTEM OF MODELING 

LESSON 14.— THE FACIAL MUSCLES 

The universal language, which every race can 
understand, is Facial Expression. 

"The capacity of expression," says Sir Charles 
Bell, "is bestowed as a boon ; a mark of superior in- 
telligence, and a source of enjoyment; its very 
nature is to excite sympathy; it radiates and is un- 
derstood by all ; it is the bond of the human family." 

It is nature's intention that we express ourselves 
to our fellows by facial expression as well as with the 
voice. We show our feelings and frame of mind 
often more honestly through the former than the 
latter. 

Most of the movements of the body are volun- 
tary. Many of the facial muscles, however, are not 
controlled so much by the will (except when trained, 
as in actors and actresses), but are moved by 
emotions beyond the power of the will. 

Expressions of the mind on the countenance can 
enoble or degrade it ; for one's virtues and vices are 
indelibly engraved thereon. Like sculptors, with 
chisels and mallets in their hands, Hardship, Bitter- 
ness, Worry and Vice, each leave their peculiar 
marks upon the face, each time you permit their 
presence. Likewise the deft hands of Love, Spiritual- 
ity, Happiness and Determination are modeling their 
characters on the countenance every time you give 
them opportunity. 

These facial muscles that express the emotions 
deserve particular study on the part of the modeler. 
Most muscles of the body swell up when contracted, 
as for instance the biceps of the upper arm. Most 
of the muscles of expression, however, are slender 



PART TWO— FACIAL EXPRESSION 71 

and do not swell up noticeably. Their actions are seen 
principally in the wrinkles, lines, folds and forma- 
tions produced on the skin, especially about the eyes 
and lips. 

Each emotion has its own peculiar expression, 
the same muscles being used in every face. Often 
but one muscle is used to express an emotion, and 
the modeler by changing a few lines can give it the 
expression desired. 

We shall study these muscles as they appear 
contracted when under the influence of an emotion 
and not as they are when the face is normal and 
when the muscles are in repose. However, if a person 
continually sneers, or smiles, or frowns, or takes on 
any such expression habitually, the features will 
eventually change and take on that expression as a 
permanent one. That is how character becomes 
engraved on the human face, so that those who know 
physiognomy, and can read the expressions of the 
emotions, can readily determine what manner of 
man resides within. Careful consideration of this 
subject when modeling will train the modeler in 
reading character in the face. It will also train him 
to control his own facial expressions so that he can 
take on the appearance of almost any emotion — the 
first requirement of a good actor, especially on the 
screen. 

All muscles on one side of the face have their 
counterpart on the other side, and it should be 
understood that when the action of a muscle is ex- 
plained, it refers to both the right and the left 
muscle. 



72 JENSEN SYSTEM OF MODELING 

Muscles of the Face and Neck 

(See Diagram on Opposite Page) 

A — Levator of the Upper Lip the Sobbing Muscle. 

B — Levator of the Angle.... the Sneering Muscle. 

C — Zygomaticus Major the Laughing Muscle. 

D — Zygomaticus Minor the Grief Muscle. 

E — Depressor of the Angle 

the "Down in the Mouth" Muscle 

F — Depressor of the Lower Lip ; the Disgust Muscle. 

G — Levator of the Lower Lip ; the Contempt Muscle. 

H — Orbicularis Oris the Kissing Muscle. 

I — Pyramidalis Nasi the Menacing Muscle. 

K — Compressor of the Wings the Lewd Muscle. 

N — Buccinator the Trumpeting Muscle. 

— Common Levator of the Upper Lip and Nose 

the Weeping Grief Muscle. 

P — Levator of the Upper Lip....the Sleeping Muscle. 

Q — The Tensor of the Lids the Waking Muscle. 

R — The Superior Orbital of the Orbicularis Palpe- 
brarum ...the Reflection Muscle. 

S — Occipito Frontalis the Surprise Muscle. 

T — Temporalis the Masticating Muscle. 

U — Masseter the Determination Muscle. 

V — Digastricus. 

W — Digastricus. 

X — Sterno- T yoideus. 

Y — Omo-Hyoideus. 

Z — Thyro-Hyoideus. 

1 — Stylo-Hyoideus. 

2 — Sterno-Cleido-Mastoid. 

3 — Trapezius. 

The Corrugator Supercilii, the Pain Muscle; this 
Deep Muscle lies under the "R" Muscle, above 
the eye. 



PART TWO— FACIAL EXPRESSION 



73 







74 JENSEN SYSTEM OF MODELING 

LESSON 15— THE HAPPY EMOTIONS 

Muscles used in laughter and kindred emotions 
incline the features upward and outward, especially 
by drawing up the lines of the mouth and eyes. 

The muscle of laughter originates at the cheek 
bone and runs obliquely to a point near the corner 
of the mouth. (See Figure 100). Hence, its con- 
traction draws the corners of the mouth toward 
the cheek bone, namely, upward and outward. This 
widens the mouth and tightens the lips, showing the 
upper teeth only, the lower lip being pulled up so it 
covers the lower teeth. 

The ridge of tissue (naso-labial) extending 
downward and outward from each side of the nose 
becomes raised up and out, a deep crease beneath it 
forming a curve that is concave upward and out- 
ward until on a line with the mouth and below that 
concave upward and inward. The skin of the cheek 
is crowded up to the cheek bone and forms crows- 
feet — folds which radiate out at the side of the eye. 
This produces the effect of the outer side of the eye 
being raised. The eyes are bright and sparkling. 
Drawing up of the cheeks raises also the wings of the 
nostrils, widening the nose and making it appear 
shorter. Fine wrinkles run horizontally across the 
bridge of the nose. 

The lower eyelid is raised slightly upward which 
causes creases at the outer corner of the eyes and 
just below the eyelids. Pressure of the cheeks against 
the lachrymial (tear) gland of the eyes causes tears 
in laughter. (See Figure 101). 

This is the expression of laughter, and a broad 
smile, which, as the name suggests, widens the 



PART TWO— FACIAL EXPRESSION 



75 



Fig 101. 





< 



) 






laughing. 




Fig 102. 



76 JENSEN 8Y8TEM OF MODELING 

mouth, and shows the teeth. In a slight smile, a 
mere lighting up of the face, we perceive just the 
starting of the expression. In a contented or happy 
face we see just a relaxation of the mouth, a slight 
drawing back of the lips, a brightening of the eyes, 
and often a dimpling of the cheeks. 

Laughter is the expression of merriment, happi- 
ness or joy; a smile denotes cheerfulness, content- 
ment or pleasurable feelings. Yet a smile or laugh 
is sometimes a mask used to conceal an opposite 
frame of mind — shame, sorrow, or even anger. 

Cheerfulness. The cheerful optimist habitually 
wears the corners of his mouth up, even when not 
actually smiling. His head is erect, none of his fea- 
tures hang down, and his face expands. His eyes 
are clear and bright. His eye brows are arched 
somewhat. His brow is smooth without the trace 
of a frown. Permanent laugh lines under his eyes 
stand ready to deepen into a smile. By no conscious 
contraction of his brow muscles can this man frown, 
for he has lost control of them through disuse. For 
when he strikes a snag he grits his teeth and grins. 
When knocked down he comes up smiling. He sees 
the futility of worry and his philosophy is simply 
"Nothing Matters Much." 

The Kiss Muscle is oval in shape, surrounding 
the entire mouth ; contraction of its internal fibres, 
(near the red lips), closes the mouth; contraction of 
its external fibres (near the nose and chin) projects 
the lips forward, as in kissing or in pouting. 

The firm closing of the mouth gives an expres- 



PART TWO— FACIAL EXPRESSION 77 

sion of determination and force, while a habitually 
loose and open mouth suggests a weak will and char- 
acter. 

Pouting is a sign of sulkiness in children, but 
sometimes it expresses shyness only. 



76 JENSEN SYSTEM OF MODELING 

LESSON 16— THE SAD EMOTIONS 

Muscles used in expressing sorrow, pain, sadness, 
disdain, etc., incline the features downward and out- 
ward, especially by drawing down the lines of the 
mouth and eyes. 

In dejected people, the cheeks, the jaw, the eye 
lids and the mouth angles all droop down and in fact 
the entire head hangs down on the chest. "Faces 
fall" on hearing bad news and "a long face" is a sign 
of gloom. 

The muscle of grief lies between the laughter 
muscle and the sobbing muscle, originating at the 
orbit under the eye and extending down to the lower 
lip. (See Figure 100). Their contraction pulls up 
the middle of the upper lip, and not the two corners 
at all, causing the corners of the mouth to droop, and 
the naso-labial folds to be raised and form a deep 
crease with a curve that is concave downward and 
inward; all of which being directly opposite to the 
lines produced by the laughing muscle. 

The eyebrows are oblique, made so by the inner 
eyebrows being raised, producing a sharp behd near 
the inner end of the eyebrows. The oblique eyebrow 
(in which the inner part is raised) can be made vol- 
untarily by knitting the eyebrows together and by 
producing a puckering up near the inner end of the 
eyebrows, at the same time raising the eyebrows at 
this point by pressing up with the fingers. This will 
also produce a characteristic grief forehead. (See 
Figure 107). 

Horizontal wrinkles usually appear on the center 
of the forehead but never across the entire brow. 

Vertical wrinkles also appear between the eye- 
brows, converging into the lowest horizontal furrow. 



PART TWO— FACIAL EXPRESSION 



79 




Fi£ 10T. 



80 JENSEN SYSTEM OF MODELING 

The lips are slightly separated in grief, while 
in pain the lips are usually pressed together. Vary- 
ing in its intensity the above expressions can register 
mild sadness, passive sorrow and violent grief. Few 
people can voluntarily contract any of the grief 
muscles when not in a sad frame of mind, whereas 
nearly all can bring the laughter muscles into play at 
any time. Nature has made it hard to appear sad 
and very easy to look happy and gay. 

The muscle of sobbing originates in the inner 
border of the orbit of the eye just inside the grief 
muscle and descends straight down to the center of 
the upper lip, a part of it being attached to the wings 
of the nose. It raises the middle of the upper lip, 
causing the corners to droop down and out like the 
grief muscle, but even more pronounced. It also 
raises the wings of the nose, opening the nostrils 
wider. It causes a deep, straight furrow under the 
naso-labial ridge that extends down from the side of 
the nose. This produces the expression of weeping 
grief. 

The eyes are partly closed, causing vertical fur- 
rows between the eye brows and wrinkles around the 
eyes. The pyramidal nose muscles contract pro- 
ducing horizontal wrinkles just above the bridge. 
The cheeks are not raised as in laughter for while 
the upper muscles try to raise the cheeks, the 
muscles of the lower jaw are tugging at them also. 
(See Figure 109). 

The "down-in-the-mouth" muscles are attached 
near the corners of the mouth and extend outward 
and downward to the jaw bone. It depresses the 
corners of the lip down and out, and also draws down 



PART TWO— FACIAL EXPRESSION 



81 




Fig 109 







n« no. 



62 JENSEN SYSTEM OF MODELING 

the lower part of the naso-labial furrow, making it 
curve around a drooping lip which causes the upper 
part of the naso-labial furrow to straighten out. The 
lips protrude somewhat, especially the lower, which 
is arched and elevated to produce a contemptuous 
look. The opening of the eyes is reduced to a mere 
slit in producing the above expression. A slight 
contraction produces langour or sadness ; and a full 
contraction produces contempt, disdain, despon- 
dency or extreme discontent. 

It is the habitual expression of a melancholy, de- 
jected person and all who are "down-in-the-mouth." 
When accompanied by knit eye brows it suggests 
moroseness or pain. If the eye brow is raised and 
forehead furrowed horizontally, it denotes mental 
anguish, debilitating pain or utter discontent ac- 
cording to the predominating cast of the features. 
In sadness or mental depression, the features are 
more limped and relaxed, and hang down more than 
in passions like lamenting grief and utter contempt. 

The muscle of pain is a deep short muscle under 
the summit of the eye brow used to draw the eye 
brow inward and slightly upward. This causes a 
sharp bend in the inner curve of the eyebrow which 
in turn produces horizontal curved furrows in the 
center of the forehead, and two vertical furrows 
between the eyebrows. This alone can produce an 
expression of pain and, if accentuated still further, 
produces an expression of agony. 

There are, however, many other characteristics 
that can be exhibited to show bodily pain. The jaws 
fixed and compressed, the lips drawn tight and 
stretched, nostrils dilated, eyes wide open, veins of 
forehead outstanding, the muscle of intensity pro- 
ducing folds in the neck and depressing the corners 
of the mouth. (See Figure 117). 



PART TWO— FACIAL EXPRESSION 



83 







Fig 117. 



Fain 



Tig 118 



84 JENSEN SYSTEM OF MODELING 

LESSON 17— THE ANIMAL PASSIONS 

In anger, the jaw is shut tightly, the mouth is 
compressed, the forehead bears a frown, the head is 
carried erect and the nostrils are dilated and their 
wings are raised. (See Figure 111). 

The masseter muscle on each side of the lower 
jaw, raises it and presses it tight against the upper 
jaw. (See Figure 100). During violent passions, 
such as anger, a man clenches his jaw; this muscle 
then stands out prominently on the sides of the face. 
It can be used to depict a strong determined face, 
and to express anger, hatred, brute force and power. 

The front edge of this muscle is thick and heavy 
and so in thin people the check inside of these mus- 
cles are sunken. 

Hatred varies in its expression, according to the 
one it is directed against. If the offending person 
is insignificant, it becomes contempt, scorn or dis- 
dain, if all powerful, hatred becomes terror; if our 
equal, it becomes indignation or rage. 

The muscle of menace when contracted produces 
short folds, running horizontally between the eye- 
brows, and depresses the inner eyebrows slightly. It 
expresses hardness and aggression and should be 
used on figures in a menacing attitude. In fact, any 
shadow across the space between the eyebrows sug- 
gests harshness. Persons whose eyebrows meet, 
have a stern severe look at first glance, although 
they may be most gentle and genteel. A frown covers 
the forehead during this expression. 

In jealousy the eyebrows are knit and lowered, 
the upper eye lid is raised so high that it is hardly 
visible, a dark frown covers the forehead, the lips are 



PART TWO— FACIAL EXPRESSION 



85 




ng 112. 




Rage 



S6 JEN$m> SYSTEM OF MODELING 

compressed against the gums, showing the teeth 
fiercely. There are other expressions but this pas- 
sion is so varied in quality and quantity, the other 
expressions vary greatly. 

The sneering muscle runs along the nose and is 
inserted in the lip just above the canine tooth. When 
contracted it draws back the lip at this point and 
reveals the canine. Only one side of the face is acted 
upon at once. A furrow is produced in the cheek and 
strong wrinkles under the eye, on the same side of 
the face as the exposed tooth. This is the side which 
is exposed to the person sneered at and the face is 
half turned in the opposite direction. This expres- 
sion can be exhibited alone, or in conjunction with 
that of contempt or anger. The sneer exhibits the 
animal nature in us and is analogous to the snarl of 
the dog or wolf when they, too, show their canine 
teeth. (See Figure 115). 

The muscle of lewdness lies across the bridge of 
the nose and extends on either side to the cheek. Its 
contraction draws up the skin of the nose and nearby 
cheek, produces a series of vertical folds on the nose. 
This produces a part of the expression of lascivious- 
ness or lewdness. Large protruding lips, and a thick 
ridge across the bottom of the nose (over the tip and 
the wings) help make up this expression. 



PART TWO— FACIAL EXPRESSION 



87 




Fi$ 116. 



88 JENSEN SYSTEM OF MODELING 

LESSON 18— OTHER MENTAL STATES 

The muscle of surprise is the frontalis, a wide 
flat muscle covering the forehead. (See Figure 100). 
When contracted it causes three or four horizontal 
furrows across the forehead. The top ones are 
deepest and run uninterruptedly across the fore- 
head, while the lower furrows have their course 
broken in the center of the forehead and curve down- 
wards, corresponding to the normal curve of the eye 
brow below. 

The eye brows are raised and arched, and the 
eyes wide open. It is for this reason that arched eye 
brows, as done in the modern beauty shop, give an 
appearance of alertness. 

Attention is expressed by a mild contraction of 
the frontalis, a greater contraction registers surpise, 
a still greater, astonishment, a full contraction, 
stupified amazement (See Figure 103). 

The supple skin of a child or a young woman 
does not permit wrinkles when the frontalis is con- 
tracted and so attention or astonishment can be ex- 
pressed on such faces only by an extreme curve and 
rise of the eye brows and an open mouth. 

That common expression "in open-mouth amaze- 
ment" is physiologically correct, for the mouth is 
opened slightly in surprise, and wide in astonish- 
ment or amazement. 

A look of admiration is similar to the expression 
of surprise, except that the mouth instead of being 
open, is almost closed and expanded into a smile. 
The eyes brighten, instead of being blank as in 
surprise. 



PART TWO— FACIAL EXPRESSION 



89 




Fig 103. 



Surprise 




Fig 104 



90 'JENSEN SYSTEM OF MODELING 

Reflection. 

The muscle of reflection is under the eyebrows, 
and of similarly curved shape. (See Figure 100). 
When contracted it straightens out, causing a slight 
lowering and straightening of the eyebrow and pro- 
ducing two deep furrows running up and down be- 
tween the eyebrows. Otherwise the forehead is 
smooth. The eyebrows are knit, which conveys the 
idea of deep thought, and the eyes are partly covered 
up. This expresses reflection, and is the mental state 
just the opposite of attention, and by comparing 
Figures 103 and 105 it will be seen that their expres- 
sions too are diametrically opposite. 

In fear, the forehead is wrinkled horizontally, 
the eyebrows are arched and raised to the highest 
point, eyes are wide open, the eyeballs protruding 
with their pupils greatly enlarged ; the nostrils are 
widened and their wings raised, cheeks are hollow, 
the jaw is lowered, although the lips cover all but the 
edge of the teeth and exposing the tongue. The cor- 
ners of the mouth droop down. The platysma, the 
muscle of intensity, contracts, producing folds of 
skin across the neck. The sterno-mastoid muscles 
stand out like cords. (See Figures 119 and 120). 

In terror, these expressions are more intensified 
than in fear and is marked by the raising of the 
inner eyebrows knitting the brows and causing fur- 
rows between them. 

The muscle of intensity lies just beneath the 
skin, originating in the chest, covers much of the 
front of the neck and is inserted in the lower jaw and 
lower part of the face. Its contraction depresses the 
lower jaw, opens the mouth slightly, pulls the cor- 



PART TWO— FACIAL EXPRESSION 



91 




Fig 105. 



Reflection 



Fi§ 106. 



92 JENSEN SYSTEM OF MODELING 

ners of the mouth down and produces folds on the 
skin of the neck. This expression suggests terrible 
energy and violent effort, and will greatly intensify 
unpleasant expressions, particularly fear. 

Disgust. The upper lip and nose are turned up, 
with a wrinkling of the nose; nostrils partly closed; 
usually accompanied by a frown. Sometimes the 
lower lip protrudes. As when the world was young, 
disgust was caused chiefly in connection with bad 
odors and bad tastes, it is natural that lips should 
open to spew it out and the nose should be raised and 
closed against obnoxious odors. Extreme disgust 
takes on an expression similar to that exhibited 
while in the act of vomiting. (See Figure 113). 



PART TWO— FACIAL EXPRESSION 



93 




Tig 119. 



Fear. 



Tig 120 




94 



JENSEN- SYSTEM OF MODELING 




Tig 113. 



Disgust. 



Fig 114. 



PART 3— PHYSIOGNOMY 
As It Relates to Art 



96 JENSEN SYSTEM OF MODELING 

The primary purpose of part 3 of the Course on 
Modeling is to assist the modeler in producing 
distinct and actual types of faces— to learn to shape 
the features so that they may more clearly and ac- 
curately depict the character and characteristics of 
that type. For as one becomes proficient, he should 
not be satisfied with merely producing an anatom- 
ically correct head ; but as an aid to his study of char- 
acter and facial expressions, should determine the 
type of person to model and then endeavor to pro- 
duce what he sees in his mind's eye. For instance, 
the physiognomist, in modeling a successful business 
man, would give him a high-bridge nose, firm com- 
pressed lips, deep set eyes, ears that stick far out and 
a strong chin. 

Incidentally this study will assist him in the 
reading of character and temperament in those 
about him. However, the student must be reminded 
that the tell-tale features of the face are only cir- 
cumstantial evidence. And as only a chain of cir- 
cumstantial evidence can convict or exonerate a man 
in court, so only the sum total of evidence secured 
from all of the features, etc., should be considered as 
proof of a man's character or tendencies. For in- 
stance one may have a large back head, denoting 
excessive animal nature, and yet have a firm mouth, 
a clear eye and a strong chin, showing that the 
sensuous nature has been fought hard and is under 
the control of the will. 

There are admittedly theories that are fanciful, 
that are involved or are empirical in Systems of 
Physiognomy. However, there are many established 
facts that have a physiological (anatomical) basis, 



PART THREE— PHYSIOGNOMY 07 

which have been further proven by the observations 
of scientific men, and experts in physiognomy, for 
many centuries. 

It is only these facts, based on science, with 
which we will deal, and the student will observe that 
in most cases the deductions arrived at are obvious 
and most natural. For instance, a firm compressed 
lip denotes firmness, determination and self-control, 
whereas loose open lips indicate the very opposite. 

This statement can be proven both by physi- 
ology and observation. A firm determined state of 
mind always results in closing of the jaw, gritting 
the teeth and compression of the lips. When the 
will takes control of the body, it tightens the reins, 
so to speak. Therefore, the more determined the 
mind and the more often the will expresses itself the 
more firm and compressed will the lips be perma- 
nently. 

As to observation, who has not noticed that 
idiots, drunkards, and most negroes, all of whom 
have weak wills, habitually have their mouths loosely 
open, whereas men and women of known will power 
and great determination invariably have firm closed 
lips. Pathological conditions will sometimes, but not 
often, produce exceptions to the rules laid down 
herein, such as for instance, a mouth-breather would 
have his mouth open habitually and still could be 
firm and resolute and yet does not their open mouths 
detract greatly from their intellectual appearance. 

Charles Darwin, the great scientist, explains the 
origin of this habit as follows: "The mouth is firmly 
closed at the commencement of and during any 
violent and prolonged exertion, or any delicate oper- 



98 JENSEN SYSTEM OF MODELING 

ation. Through the principle of association there 
would also be a strong tendency towards this same 
habit, as soon as the mind had resolved on any par- 
ticular action or line of conduct, even before there 
was any bodily exertion, or if none were requisite. 
The habitual and firm closure of the mouth would 
thus come to show decision of character; and de- 
cision can readily pass into obstinacy." 



PART THREE— PHYSIOGNOMY 93 

LESSON 19— CHARACTER IN LIPS 

Lips are to be judged by their thickness and 
their compression. Thicknesses can be divided into 
three general classes: 

The Thin Lips which indicate a nature possess- 
ing all or some of the following traits : Mean, cruel, 
selfish, mercenary, ill-temper, pessimism, miserly, 
greed, worry, vain, and resentful; but not given 
much to sensual pleasure (Figure 141). 

The Full Medium Lip indicates love of pleasure, 
affection, wit and generosity. 

The Thick Lip indicates a coarse, sensuous, indo- 
lent, gluttonous nature. Those possessing them have 
an unusually developed keen taste, which accounts 
for the fact that negroes (who are practically all 
thick-lipped) make such good cooks. 

The degree of compression of the lips indicates 
the control that the will and the mental forces have 
over the animal, for the animal nature has its seat in 
the mouth. Hence we find that: 

Firm, compressed Lips indicates firmness, de- 
termination, mental activity, control, decision and 
concentration. 

Loose Open Lips indicates uncontrolled passions 
and temper, weak will and character, and no mental 
energy. 

These signs seldom fail — but to read them 
aright requires fine discernment. Do not mistake a 
compressed, full lip for a thin lip, nor call a lip heavy 
that is merely full and well formed. Full lips, firmly 
closed, belong to the ideal nature, possession warmth 
and love, under full control. Thus we see that the 
amount of lip is an index to the heart (the pure pas- 
sions and the animal propensities) whereas the 



100 JENSEN SYSTEM OF MODELING 

amount of control is an index to the will and the 
mentality. 

A mouth so compressed that scarcely any of the 
red is seen, wherein the center of the upper lip is 
puckered up so that vertical creases form above the 
upper red lip, the lips themselves being thin — this 
indicates weakness, bitterness, secretiveness, obsti- 
nacy, in other words, determination without a broad 
mind to direct it. 

Full lips, the upper projecting over the lower, 
which is firmly compressed, with considerable of the 
red membrane showing with but a shallow hollow 
between the lower lip and the chin, indicates a loving 
passionate nature. (See Figure 142). 

On the other hand, heavy lips, with the lower 
protruding beyond the upper, both loose and swollen 
like a negro's, a deep hollow between the lower lip 
and the chin, indicates a coarse sensuous animal 
nature. (See Figure 143). 

In the criminal, the entire jaw often extends out 
one-half inch more than normal, so that the top teeth 
miss the lower by half an inch, causing the lower lip 
to protrude far beyond the upper lip. 

The mouth muscles, being easily controlled and 
very flexible, can take on as a permanent expression, 
the expression of any emotion that is persisted in. 
People who are "down in the mouth" soon find the 
corners of their mouth drooping; if their lips curl up 
in contempt often they will soon assume that posi- 
tion, a happy nature will wear the corners of his 
mouth up. 

The emotions that play upon the face, as de- 
scribed in Part Two on Facial Expressions, leave 
their permanent marks on the features and should 
be especially considered. There are fine wrinkles 
permanently under the eyes of the man who laughs 
much; two deep vertical furrows between the eye- 
brows of the man who thinks and concentrates 
much ; short horizontal wrinkles in the center only 
of the forehead of the man who worries much; and 
so on, just as delineated in Part Two. 



PART THREE— PHYSIOGNOMY 



101 





102 JENSEN SYSTEM OF MODELING 

LESSON 20— CHARACTER IN NOSES 

It is the bridge and the tip of the nose that is 
most indicative of character; that is, (1) the size and 
height of the bridge of the nose and (2) the shape 
and the direction of the tip. There are three general 
types; the Convex or Roman nose, the Concave or 
Upturned nose, and the Straight or Greek nose. 
Usually a large shapely nose indicates high men- 
tality and great physical powers. 

The Convex, Roman nose, found on generals, 
business men, executives, statemen and other leaders, 
thinkers and fighters, indicates ability to command 
and supervise wisely. On such noses the bridge 
stands out prominently, producing a sharp bend. 
When this bridge is very high, near the root of the 
nose, as in Figure 152, it indicates great executive 
ability; also aggressiveness, self-sacrifice, mental 
energy and a strong desire to fight for others. As 
this bridge lowers, but still remains visible, as in 
Figure 153, it indicates these same qualities, but in 
lesser degree. 

When the bridge becomes so low that it is not 
visible, causing the tip of the nose to be upturned, 
just the opposite traits are exhibited, and instead of 
a desire to fight for others, we find a selfish desire 
to protect oneself from dangers. This is called the 
concave nose. (See Figure 154). 

The Straight (and the classical Greek) nose, 
without a hump or curve from root to tip, indicates 
elegance and refinement, love of art, architecture, 
poetry and things esthetic, as well as love of luxury 
and ease. (See Figure 155). 

The Hebrew Curved nose is one type of the 



PART THREE— PHYSIOGNOMY 



103 





154. 





136. 



158. 



104 JENSEN SYSTEM OF MODELING 

convex nose ; it has one full convex curve from root 
to tip of nose, and indicates business sagacity, ac- 
quisitiveness and a grasping nature. (See Figure 
156). 

A Pug nose (stubby and tilted upwards) indi- 
cates a low, pugnacious, coarse and quarrelsome 
nature. It is the nose of the pugilist and the low 
minded. (See Figure 157). 

If the tip of the nose is wide and full, a trusting, 
confiding, frank and open nature is indicated. On 
the other hand, if the tip is long and pointed, it indi- 
cates a conservative, cautious, cold nature; if this 
sharp nose points downwards, as in Figure 158 
hanging lower than the septum (the cartilage be- 
tween the nasal passages) and the nose above, is 
concave, it indicates an inquisitive, suspicious, sly 
and scheming nature. If the sharp tip tilts upwards, 
as in Figure 159, it indicates inquisitiveness also, but 
it is less shrewd and harmful, such as idle curiosity. 



PART THREE— PHYSIOGNOMY 



105 






106 JENSEN SYSTEM OF MODELING 

LESSON 21— CHARACTER IN CHINS 

Chins are to be judged both by their f ormatfon 
and their position. There are three pure forms, but 
any two of these are often blended together into one 
chin: 

The Round Fatty type, which indicates good- 
nature, benevolence, pleasure loving, gluttony, and 
often a weak will. (See Figure 146). 

The Oval Muscular type indicates physical 
strength and health, and good taste. (See Figure 
147). 

The Square, Broad Bony type indicates a posi- 
tive, precise, systematic, persevering, strong-willed 
nature. (However, bear in mind that mere bigness 
of jaw or chin indicates a low mentality and a high 
degree of sensuality. (See Figure 148). 

There are three positions of the chin : 

The Normal chin, in the male, is perpendicular 
with the upper lip and the eyebrows, that is, on a 
straight line with these two points. It is the ideal 
chin both from the standpoint of beauty and of 
character. A woman's chin, however, normally and 
naturally recedes slightly from that line, indicating 
only that inherent feminine gentleness has tempered 
the aggressive physical powers. If a woman's chin 
protrudes, she has very much the nature of a man, 
and is firm, self-reliant and persevering. (See 
Figure 149). 

The Receding chin indicates a negative, weak- 
willed, easily discouraged man of limited physical 
strength and force. (See Figure 150). 

The Projecting chin indicates a positive, perse- 
vering, firm nature, who is saving to a fault. If it 
protrudes very much, it also indicates a penurious, 
avarice nature. (See Figure 151). 



PART THREE— PHYSIOGNOMY 



107 



149. 




108 JENSEN SYSTEM OF MODELING 

LESSON 22— CHARACTER IN EYES 

The normal eye, indicating a normal developed 
mind, is medium in size, rather deep set, the outer 
corner very slightly higher than the inner, top and 
bottom edges of the iris covered by the eyelids. Such 
eyes also are the badge of morality and honesty. 
(See Figure 160). 

Deep Set eyes, being nearer the brain, record 
what they see quicker ; such eyes belong to a quick, 
accurate, keen observer; while one whose eyes pro- 
trude usually has dull perceptions. The deep set 
type likes introspection; he sees with the mind's 
eye too. The full prominent eye is sensual and 
delights in beholding physical beauty — a pretty 
girl, a gorgeous sunset, and the like. In deep set 
eyes the upper lid is folded back far under the eye- 
brow bone, so that only the edge is visible. 

The Oblique eye, slanting upward and outward, 
more than normally, with the eyebrow in the same 
direction, and with the eyeball rolled upward so that 
white shows between the iris and the lower lid, indi- 
cates a crafty, dishonest, treacherous, and often 
cruel, nature. (See Figure 161). When the eyes 
oblique inward, the inner corners higher than the 
outer to a marked degree, it also indicates dishon- 
esty and deception, but seldom treachery or cruelty. 

If but a narrow slit of the eyeball is exposed, as in 
Figure 162, a secretive, deceptive and sensuous 
nature is suggested. But if the eyelids are far apart, 
exposing the eyeball more than normally, it denotes 
volubility, exaggeration and unreliability. (See 
Figure 163). 

While there is no physiological (anatomical) 



PART THREE— PHYSIOGNOMY 



109 





160. 





161. 




110 JENSEN SYSTEM OF MODELING 

basis for stating that color of eyes indicate aught, 
long observation by many authorities has estab- 
lished the following facts: 

Dark eyes are invariably passionate ; grey eyes 
or pale blue are cool, calm, calculating and shrewd; 
deep blue, with large pupils, indicate a clear devel- 
oped mind and a true generous heart; normally 
brown eyes are ardent and constant; while light 
hazel brown eyes are fickle and hasty, although most 
agreeable and affectionate. Prominent colorless 
eyes indicate a cold, narrow, selfish, grasping nature. 

The eyes are bright and sparkling when happy; 
dim and dull when mentally depressed; keen and 
brilliant during mental activity; soft and love-lit 
when beholding the object of its affections. All these 
qualities are hard to analyze and hard to reproduce, 
and yet the most indefinable — the love-lit eyes — 
what fortunate man has ever failed to read them 
aright when directed toward him. 

Arched Eyebrows denote youthfulness and fem- 
inine qualities; straight and horizontal eyebrows 
denote masculine vigor and capability. Fine smooth, 
firm hairs, all running in the same direction, indi- 
cate a calm, keen, firm nature ; whereas bushy hairs, 
sticking out in all directions, indicate an irritable, 
ill-tempered nature. Meeting eyebrows (hair across 
the root of the nose) belong to a frank and honest 
nature. Eyebrows that oblique either out or in in- 
dicate a dishonest nature. 



PART THREE— PHYSIOGNOMY 



111 








162 





163. 



112 JENSEN SYSTEM OF MODELING 

LESSON 23— CHARACTER IN EARS 

Each feature is the seat of some part of our 
mental makeup. The eyes reflect our morals and 
intellect; the nose gauges our executive and business 
ability; the mouth tells the measure and quality of 
our love; the chin indicates the degree of our will- 
power; and the ear is an index to our breeding. 

There is no feature that changes so slightly 
from cradle to old age as the ear. Hence a man of 
good family, good breeding and of so-called blue 
blood cannot disfigure a good ear even with years of 
dissipation. 

So a delicately shaped, symetrically curved ear 
that is thin, soft and almost transparent denotes 
refinement and good breeding; whereas an ugly, 
irregular, poorly formed ear that is thick, and of a 
coarse texture indicates a coarse, ill-breed nature. 
Compare Figures 164 and 165. Its size or the angle 
it sticks out has no bearing on it, however. 

A Long Broad ear indicates business ability and 
if it sticks out at a great angle from the head, iti 
usually denotes executive ability. If the ear lies 
near the head, it indicates a cautious, conservative 
and thrifty nature. 

The Musical Ear is large and rounded ; and has 
a perfectly formed rim of equal width on the rear 
edge of the ear, that extends in one unbroken curve 
from the top to the lobe. (See Figure 166). 



PART THREE— PHYSIOGNOMY 



113 



Fig 164. 




Fig 166. 



Fig 163. 





D -Practical, Creative — 
E - Spiritual, Impractical 
F - LoVe of Life 




,B 



/_ _ Fig 175. 




Fig ire. 



A- Intellectual — 

B" Spiritual 

C-Animal 



1H JENSEN SYSTEM OF MODELING 

LESSON 24— CHARACTER IN FOREHEADS 

The general direction of the forehead from eye- 
brow to the hair is the best index to the mentality 
beneath. 

The intellectual type recedes slightly, being 
almost perpendicular, until within an inch or so of 
the hair, when it slopes back gently, this forehead is 
high and broad, and indicates a sympathetic, ener- 
getic, brainy executive. (See Figure 167). 

A perfectly, straight and perpendicular fore- 
head indicates a sluggish mind, indecision, and a 
cold, cheerless, unsympathetic nature. (See Figure 
168). 

An entire forehead projecting out beyond the 
eyebrows, either in a straight or curved line, indi- 
cates immaturity and sometimes imbecility. In the 
adult, it is the sign of a slow, stupid, weak, imprac- 
tical mind. It is the normal shape, however, of the 
child's forehead, who naturally has not yet attained 
full development. (See Figure 169). 

A greatly receding forehead, which slopes back 
from the eyebrows, as in the average negro, indi- 
cates a low, undeveloped mentality. However, if the 
lower half of a high forehead is almost perpendicular 
and only the top half recedes noticeably, then orig- 
inality, wit and keen perception is indicated. (See 
Figure 170). 

A Narrow Low forehead with receding temples, 
indicates a lack of originality, push and tact; often 
obstinate and a stickler for old ideas and methods; 
yet practical and faithful in any task given him to 
do. (See Figure 171). 

The "Bumps" theory has long been exploded and 



PART THREE— PHYSIOGNOMY 



115 



Fig 167. 




f 



Fig 168 



^ 




116 JENSEN SYSTEM OF MODELING 

proven erroneous; however, there is an anatomical 
basis for the following statement. An irregular sur- 
face of bumps, folds and creases, with highly devel- 
oped and flexible muscles beneath, on a high broad 
forehead, which has two arches, the lower one pro- 
jecting most, indicates a creative, clear, sound, ana- 
lytical mind; one that the modeler could use in de- 
picting a thinker. As can be understood after study- 
ing Facial Expressions, permanent vertical wrinkles 
alone will denote concentration and mental power; 
whereas horizontal wrinkles usually indicate a per- 
plexed and disturbed mind. 



PART THREE— PHYSIOGNOMY 



117 



Fig 169 






Fig 171. 




118 JENSEN SYSTEM OF MODELING 

LESSON 25— CHARACTER IN HEADS 

Skulls vary in shape according to the intellectu- 
ality of the man. A large head denotes a large brain 
with great physical and mental energy and strength 
— but it is the shape that determines in which direc- 
tion this energy is being expended. 

The ear is always in a fixed place and so the 
opening of the ear is the landmark used for measur- 
ing the shape of the head. The head possessing a 
normal brain, wherein the mental and physical qual- 
ities are equally developed, lies two-thirds in front 
of the ear orifice and one-third behind. When three- 
quarters or more lie in front of the ear then a high 
mentality and low physical powers are indicated. If 
one-half lies in front of the ear, and the height of 
the head is less than normal, then low mentality and 
strong sensuousness is indicated. Compare Figures 
172, 173 and 174. It is hardly necessary to state that 
No. 172 is the ideal type, wherein both the mental 
and physical is developed, so that the mental holds 
the physical tendencies in check, and the physical 
provides the mentality with energy and stamina to 
carry on its work. The mental type, No. 173, lacks 
force and aggressiveness, while in the physical type, 
No. 174, the physical animal tendencies are un- 
bridled. 

A high, full crown indicates strong moral senti- 
ments, such as veneration, benevolence, hope, spirit- 
uality and idealism. (See Figure 176). 

A broad head, wide back of the temples, indi- 
cates a constructive, energetic, practical, creative 
mind of high idealism and good cheer. (See Figure 
176). 



PART THREE— PHYSIOGNOMY 



119 




172. 



120 JENSEN SYSTEM OF MODELING 

Breadth of head around the ears indicates love 
of life and a good fight, great energy and strong 
animal tendencies. (See Figure 176). 

A full and broad upper back head, just behind 
and below the crown, caution, self-esteem, firmness 
and stick-to-it-iveness. 

A full middle back head indicates a domestic and 
social nature in which the impelling motives are love 
of the opposite sex, parents, home and friends. 

If the very base of the brain back of the head is 
highly developed, it indicates a strong amativeness, 
which if not tempered by social and spiritual quali- 
ties will result in a carnal, sensuous nature. 

In a sentence, if the development is in the front 
of the head, he is intellectual, if at top, he is spiritual, 
if in upper back, he is reserved, if in center back, he is 
social, if in lower back he is sensual, if at the sides he 
is practical. On the other hand, where these parts 
are not developed, it denotes a corresponding de- 
ficiency in these qualities. 

A man's head is usually larger than a woman's. 
The average matured man's brain measures 135 
cubic inches, while the average for a woman is 125. 
In a general way, the brain can be measured by the 
hat one wears? A man wearing a size 6y 2 would 
have from 90 to 100 cubic inches of brains. For each 
additional Vs-inch size, add 10 cubic inches, so that for 
instance, eight sizes larger, a 7%, would cover a 170 
to 180 cubic inch brain. 



PART THREE— PHYSIOGNOMY 



121 




122 JENSEN SYSTEM OF MODELING 

LESSON 26— TEMPERAMENT 

In reading the character and nature of an indi- 
vidual a knowledge of his temperament is also neces- 
sary. Temperament is a quality of mind influenced 
by the organic condition of the body; it refers to the 
attitude (not the development) of the mind. There 
are three distinct classes : 

The mental type, in which the nervous system 
and the brain have the predominating influence. 

The motive type, in which the physical, includ- 
ing the muscles, bones and ligaments, have greatest 
influence. 

The vital type in which the controlling force is 
the nutritive system, including the digestive organs 
and the blood vessels. 

The makeup of man is like our National Con- 
gress, and each type mentioned above can be likened 
to a political party. Never is a man 100 per cent of 
one type, but always there is one of these types that 
predominate. If he is 60 per cent mental and only 
40 per cent vital and motive, he is of a mental tem- 
perament, and it is the mental that will control and 
influence his thought and actions, just as if Congress 
were 60 per cent Democratic, this party would con- 
trol legislation. The ideal combination of course, 
which is, however, seldom attained, is to have no one 
type hold the balance of power. Such men will 
divide their time evenly between study (mental), 
work (motive) and pleasure (vital). 

The predominating mental type is recognized by 
a slight delicate body and a large head, with a high 
broad forehead. The bones and the muscles of the 
body are small. The features are finely (often 



PART THREE^PHYSlOGNOMY 



123 




124 JENSEN SYSTEM OF MODELING 

sharply) chiseled. Usually nervous and high-strung. 
Artists, musicians, scientists, and literateurs are 
usually of a mental type. 

The predominating motive type is easily distin- 
guished by his large and developed muscles and 
bones; by a strong rugged face which includes a 
large jaw, a square chin, good strong teeth, rather 
high cheek bones and angular, but not sharp, fea- 
tures. This temperament is much more common in 
man than in woman, they usually being of large 
stature. The business man, the athlete, and the pro- 
fessional soldier is usually of this type. He is the 
man of action. 

The vital type of man or woman is usually fat, 
or at any rate has loose soft tissue. Often tall, with 
rather large bones, but small hands and feet. The 
neck is thick and short, and the shoulders are wide 
and rounded like a woman's. In fact, the entire 
body has more of the rounded curves as seen in 
woman. Their features are rounded, which distin- 
guishes them from the angular features of the mo- 
tive and the sharp features of the mental type. 
Sometimes we see a blend of all three types in one 
face. The majority of women are of the vital type. 
Such men and women are lovers of ease and pleas- 
ure, and are given to excesses. They are good 
natured, generous and honest. 

The salesman dealing with the mental type 
should present hard facts and arguments ; in dealing 
with the motive type, personality will count and he 
must use aggressive, bull-dog tactics. In winning 
over a vital type of a buyer, first take him out to a 
good dinner, for his heart and brain can best be 
reached through his stomach. 



GUS. G. MARTIN CO. 
PRINTERS, CHICAGO 



